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Share this article Share. Tremendous untapped potential resides in all models. My ears survived. Another transistor amp I heard in the early 70's was the Spectra Sonicswhich sounded really good and also had an excellent reputation in pro circles. Last edited: Oct 22, Only you can decide for yourself. Do you think, that those strings are the reason Naked voices sound amp video clips it?
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This article discusses an alternative power amplifier design with sound that often lacks in conventional amplifiers. Note: Due to popular demand, the LTspice files for the circuit discussed here are available at the bottom of the article.
Even the best commercially available audio systems lack real presence—while the sound can be crystal clear, you would never mistake the recorded voices for real voices, or the recorded piano for a real piano. The human ear immediately knows the difference.
Have you noticed how much clearer headphones sound? This amplifier was designed over forty years ago, and yet despite its superb fidelity, it has never seen commercial production.
I will then go on to show how this original and truly suburb amplifier successfully minimizes distortions and does not generate disturbing rogue frequencies. This design is so effective and the output so pure that it creates an audio presence that is quite impossible to ignore. To understand why commercial amplifiers produce a sound which is very good but which lacks presence, I will begin by discussing the sensitivity of the human ear.
Then I will examine types of distortion and how these affect what we actually hear. With the purchase of the gramophone came some very old 78rpm records made directly from the original wax master—the huge horn of the recording gramophone was placed close to the orchestra and the needle cut a spiral groove, using only sound energy, in a platter covered with a thin layer of wax. There was an original record in good condition of Caruso in full glorious voice!
There were also some orchestral and choir records. These were all made before the triode was invented so no electronics were used in their manufacture. To humor my friend I agreed to listen, expecting an unpleasantly distorted sound. As I suspected, there was hiss and there were crackles, but the music! Pure and clear, you could hear each and every instrument and voice completely separately and beautifully, even with a choir and a mono recording source.
Caruso really does deserve his reputation. So why do modern amplifiers, with all the remarkable improvements we have achieved in electronic technology, lack this essential quality of presence? The human ear is extraordinarily sensitive. For example, to notice a change in volume, the power has to be doubled 3db.
It's done by harmonic content, and the human ear is very deeply tuned to harmonic content: "Have you got a cold, Mum!? This shows us the introduction of extra harmonics is very audible indeed as little as 0.
Any two frequencies passed through a non-linear amplifier will produce the sum frequency and the difference frequency in addition to the original frequencies.
This is intermodulation distortion and it is very difficult to measure, especially at the extremely low levels that still remain significant to the human ear. Music or voice consists of hundreds of superimposed frequencies at any given moment as described by the mathematician Joseph Fourier.
This is a significant reason why you never confuse, say, voices on the TV or radio with real visitors even when you are in another room. Even very good conventional amplifiers are not mistaken for the real thing! When a power transistor is driven below a collector current of about 15mA the amplification falls dramatically. If one could prevent the current in the output power-transistors from ever going below about 15mA and into this non-linear region, it would considerably improve things.
This change of amplification causes the crossover distortion characteristic of class-B amplifiers. Note that this crossover distortion should not be confused with the audio distortion, often also referred to as crossover distortion, which arises when audio signals are separated into frequency bands, as in loudspeaker circuits to feed the appropriate frequency range to each discrete driver unit.
Modern amplifier distortion is controlled by negative feedback, which reduces the distortion in proportion to the feedback. Amplification is cheaply available so the apparent non-linearity can be reduced to arbitrarily low levels by sufficient feedback.
But the feedback signal takes time to get through the amplifier and back to the input negatively to quash the distortion. So when sudden changes transients occur there is a period during which the naked amplifier is exposed to the world, and the non-linearity adds intermodulation rogue signals to the original, which are not entirely canceled by the feedback. This is transient intermodulation distortion. One of the reasons that modern amplifiers sound better than their older counterparts using essentially the same class A or B circuits as always is the increase in speed of the components.
Multi-gigahertz discrete components are freely available, and even cheap power transistors have an f t of many MHz. This means that the feedback time is now very short indeed. Transistor amplifiers driven into saturation sound horrible because the tops of the waveform are very sharply clipped off, leading to square corners and a huge explosion of unpleasant harmonics.
I find myself waiting to wince when a conventional amplifier is driven hard. A simple circuit invented by Carl F Wheatley, Jr. Note that the 0. The very clever bit of the amplifier he describes is that Blomley split the incoming signal into top and bottom halves before applying the separate signals to the output transistors.
As shown in the schematic above, he used a constant-current source Tr6 and had a varying current sink Tr3. And on an oscilloscope, there is no discernible crossover distortion with no feedback. After a little feedback is applied, there is unmeasurable intermodulation distortion, transient intermodulation distortion, and harmonic distortion.
The resultant output of this amplifier is so clear that a recorded voice can easily be mistaken for a live person. I suggest two reasons for this. First, his design was so original and so unexpected that few people understood it or took it seriously.
Second, Blomley never put his design into commercial production because Plessey held the patent, so even fewer people were able to listen to it or review its performance. I suggest you build the original design with perhaps just the minor modifications afforded by modern components and listen to it. This will give you a reference sound to check any further modifications with which you might like to experiment. Unfortunately, in ignoring the Blomley design for so long, the audio world has deprived itself of a fundamentally better amplifier.
We have instead put all our efforts over the last forty years in trying to mitigate what we thought were unavoidable inherent characteristics of electronic amplifiers, particularly Class B amplifiers. In , V small-signal transistors were rare, but this is no longer so and an 80V power-rail can now be used, with different transistors, increasing the power to 50W.
However, high sound volumes are not needed as the sound is so exceptionally clean. Now, I have built several of these amplifiers and, provided I stick to the original Blomley design, they all sounded better than superb.
Listening to a Blomley amplifier is addictive. I have certainly found it so, as have many others fortunate enough to have experienced this extraordinary amplifier. In fact, it is difficult to use it for background music; people tend to stop talking and start listening to the music.
Its presence is compelling. That was the s and the other components in an audio system have come a long way since then. The choice of a Blomley amplifier is now certainly warranted and is the best way to benefit fully from the technical advances made in all the other components of an audio system.
It really doesn't seem to matter! Great care must be taken to physically separate the input from the output to prevent high-frequency feedback. This amplifier is quick enough to use at RF frequencies. I have the LTspice file if anyone is interested in playing with it.
I would definitely like a copy of the spice files. I think I wanna build one. Or similar. Hi, very interesting article. Very interesting and clear article! As the others I also would like the Spice files to play with them.
Great article Dermot.. Thanks Dermot I fully agree! Long time user of both vacuum tube class B amplifiers and Spice simulation I started with the Berkeley version in the 70s , I would be very interested with your own LTSpice files Thanks in advance.
Im sure a lot of people would love to build this if somebody capable i am not and so inclined put together a circuit board and bom of current parts.
In my opinion it can only be as good as the capacitor itself: this is a weak point indeed! Very interesting, thanks for sharing. Great article!
Why are the two final transistors so different in the encapsulated and electrical characteristics? Great background on this Class of an audio amp. I also, would like a copy of your LTSpice file. Thanks again. Thank you for the very interesting article, Dermot. Will you please send me the spice files? Is this designed for a 15 ohm or greater load, or can it be used with 8 ohm speakers as well?
Thank you for a great article! I would like to have the LTSpice file if possible. Again thanks! Are you saying they should be at opposite ends of the PCB, or separate PCBs if this, where would you divide the circuit? I am interested in the spice file. If you know anybody making it or at least the boards , I am interested as well. Thank you very much! Nice article, and I concur with the sensitivity of the ear.
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I am just wondering why there is no hi-low cuts used in your presets? I mean at low volume they sound great on studio monitors, but in a gigging volume there is a lot to do Oh, and I know about this "fletcher-Munson" Last edited: Oct 20, I have a question. Now, the tones that I have "dialed in" in my studio are not exactly the same. They are harsh sounding and too much bassy.
Why didn't you use any high cuts in the cab blocks of naked amps pack? I set the low cut arround hz and high cut arround 6. There is still a lot of the top end harshnes, especially on those plexi type amps. Why is this so? Oh, I use the Suhr guitars with Elixir Optiweb strings. Do you think, that those strings are the reason for it?
Am I the only one that thinks so? Thanks for your answers. Seano Fist New here. Hello Austin, Bought your Tone Pack two days ago and I am falling in love with so many different tones and amps! However, how would you recomend creatingt a lead boost for one of your presets?
I know you say not to touch the amp block's volume or output, but how would recomend creating a lead boost? Seano: So glad you love them! FET block for example. Then I'd go into the Output Mixer block, select Scene 2 in it, and boost the overall volume output for Scene 2 about 3 to 3. Then when you hit Scene 2, it will punch out for solo! Hope that helps!
Last edited: Oct 22, Here's a soundclip with about 7 examples. There are seven amps compared from dirty to clean: 1. Hook 2b 2. Friedman Small Box 3. Vox AC15 4. Plexi Jumped 5. Vibroverb AB first 6.
Blackface Princeton 7. I'd love to hear your guys reactions to the sound differences? The 8. FWQ9 has taken away any prior amp page speaker motor drive, motor constant, speaker drive stuff that was in FW 8. The closest thing I can get to replicating globally the FW 8. Something in the overall amp EQ has changed slightly to my ears. It does not get reset when changing the model. If using the Axe-Fx II with a tube power amp and conventional guitar cab you may want to reduce this value to 0.
The gain reduction meter shows the amount of virtual power compression select the Spkr Comp knob to monitor the gain reduction. Typical guitar speakers compress between 3 and 6 dB depending upon construction, age, volume, etc. The default value is conservative and yields about 3 dB of compression. I personally am going to stick with 8. As the needed tools become available over the next month or two Axe-Edit and Ax8-Edit compatibility with FW9, AND critically Fractool compatibility I will see if anything can "fix" this for an updated TonePack download for customers -- but right now there is no one thing I can advise that does so, other than the 3 steps above or staying on FW Q8.
Took me a while to get through all the amps in this pack. But it is well worth it. I now use these as the base for my own presets. With volume on 5 I had solid clean tones with nice bite and a TON of range to roll it up to mean and loud. Big, stupid grin on my face all night. Nothing got lost in the mix. Just stellar sounds. What are you waiting for???? Hey austinbuddy do you do anything with the drives in your preset packs? Sorry if I missed this. Thanks austinbuddy 4 is what I was looking for.
Adinfinitum Veteran. Do you still advise not celebrating Firmware Thursday and keep AX8 at 8. Adinfinitum said:. I'll stay in a holding pattern. I haven't even run through all the amps yet.
Sort of get in a groove on certain amps and don't have desire to hit "patch up. Akstrat Inspired. Will you be updating your pack? I had thought about making the plunge. Akstrat said:. Last edited: Nov 4, Quick report Firmware 9. They dozen or so I tried of varying amp types sound the same in each unit. Just as Cliff said, confirmed tonight the latest Firmware 9. The randomly selected two dozen or so I tried of varying amp types sound the same in each unit.
So this is great news for existing AX8 TonePack users! I still like 8. So this is really "you decide what you like here. Bottom line: if you are happy with 8.
But if you want to update to 9. NightWalker Forum Addict.